Critical and theoretical notions shape the “meaning” of a work. In the case of artist Yinka Shonibare’s work, critical and theoretical interpretations can be inferred. These notions include ideas about race, gender, and style. Critically, much of Shonibare’s work entails characters dressed in European clothing made with the African fabric, batik. Batik is used primarily, but not solely, in Africa and was originated by the 19th century Dutch. The intermingling of Africa and Europe is not a foreign concept to the artist who was born in London and who grew up in Lagos, Nigeria.
Theoretically, Shonibare challenges the viewer’s interpretation of these figures. The Dutch, then subsequently the English, produced the batik fabric for sale to the African market. Backwards notions line the interior of Shonibare’s work. Notions concerning his work are determined by the sociological structures that already exist in the world. In times both historic and current, White people have dominated the racial and socioeconomic systems that are in place. Shonibare’s work challenges these systems by literally reversing the roles of White and Black people, specifically.
Works of art do not necessarily differ from other kinds of visual culture. Whether a work is created, captured, or illustrated, the intent and the meaning behind those works are relative with respect to interpretation and context. Theoretical interpretations of such works almost inevitably have to be tied to ideological/political issues. These are the issues that affect the world and, therefore, affect the systems that we all can relate to and have opinions about. Although these issues should be highly regarded when supposing the theory behind a work, they should not be the sole focal point. Merely recognizing the aesthetic value of a work is grounds for determining the theory behind a piece of art. However, one must realize that this value is still affected by ideological/political views that shape what we deem to be aesthetically appealing.
Shonibare plays a major role in the production and execution of his work. In some of his work he is physically included. Even though skill and technique matter a great deal, it is the artist’s ideas and perceptions themselves that initially deserve the credit. The fact that the artist is paralyzed in his legs does not constrain his work or even determines its existence. The process of creating the work continues, whether with the help of others or not. The production value set on his extraordinary work is priceless.
In terms of market value, Shonibare’s work is worth the accolades it has already received and more. Popularity, critical opinion, and supply and demand all help to shape how market values are set. However, I believe that it is a work’s truth that should be recognized. The honesty of Shonibare’s work is what got him nominated for the 2004 Turner Prize. I do believe that the artist should be somewhat involved in the process of market evaluation. With him being represented by Stephen Friedman Gallery in London and having a major retrospective opening in 2008 at the Museum of Contemporary Art in Sydney, artist Yinka Shonibare deserves at least that much.
Jeffreys
Final Proposal- Yinka Shonibare
Critical and theoretical notions shape the “meaning” of a work. In the case of artist Yinka Shonibare’s work, critical and theoretical interpretations can be inferred. These notions include ideas about race, gender, and style. Critically, much of Shonibare’s work entails characters dressed in European clothing made with the African fabric, batik. Batik is used primarily, but not solely, in Africa and was originated by the 19th century Dutch. The intermingling of Africa and Europe is not a foreign concept to the artist who was born in London and who grew up in Lagos, Nigeria.
Theoretically, Shonibare challenges the viewer’s interpretation of these figures. The Dutch, then subsequently the English, produced the batik fabric for sale to the African market. Backwards notions line the interior of Shonibare’s work. Notions concerning his work are determined by the sociological structures that already exist in the world. In times both historic and current, White people have dominated the racial and socioeconomic systems that are in place. Shonibare’s work challenges these systems by literally reversing the roles of White and Black people, specifically.
Works of art do not necessarily differ from other kinds of visual culture. Whether a work is created, captured, or illustrated, the intent and the meaning behind those works are relative with respect to interpretation and context. Theoretical interpretations of such works almost inevitably have to be tied to ideological/political issues. These are the issues that affect the world and, therefore, affect the systems that we all can relate to and have opinions about. Although these issues should be highly regarded when supposing the theory behind a work, they should not be the sole focal point. Merely recognizing the aesthetic value of a work is grounds for determining the theory behind a piece of art. However, one must realize that this value is still affected by ideological/political views that shape what we deem to be aesthetically appealing.
Shonibare plays a major role in the production and execution of his work. In some of his work he is physically included. Even though skill and technique matter a great deal, it is the artist’s ideas and perceptions themselves that initially deserve the credit. The fact that the artist is paralyzed in his legs does not constrain his work or even determines its existence. The process of creating the work continues, whether with the help of others or not. The production value set on his extraordinary work is priceless.
In terms of market value, Shonibare’s work is worth the accolades it has already received and more. Popularity, critical opinion, and supply and demand all help to shape how market values are set. However, I believe that it is a work’s truth that should be recognized. The honesty of Shonibare’s work is what got him nominated for the 2004 Turner Prize. I do believe that the artist should be somewhat involved in the process of market evaluation. With him being represented by Stephen Friedman Gallery in London and having a major retrospective opening in 2008 at the Museum of Contemporary Art in Sydney, artist Yinka Shonibare deserves at least that much.